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Forme Architettonich'e Civili Di Giacomo Della Port A FORME ARCHITETTONICH'E CIVILI DI GIACOMO DELLA PORT A L' attivita di Giaeomo della Porta quale ar­ me l' estro, ma ehe pure 10 diseiplina, ne impe­ chitetto eivile e senza dubbio il lato piu impor­ disee la dispersione dannosa. tante e il meno studiato della sua figura di N el gruppo di quelle opere eivili ehe, per artista. Se infatti l' arehitetto di ehiese (I) non ragioni stilistiche sopratutto, eome vedremo ap­ feee ehe sviluppare sehemi gia preesistenti, pu­ presso, si possono eonsiderare tra le prime eo­ re improntandoli di una sua originalita, l' arehi­ noseiute di Giaeomo della Porta, la Sapienza tetto eivile arrivo inveee a tanto da elaborare e l'unieo edifieio ehe si lasei approssimativa­ un ti po quasi nuovo di palazzo e ci diede qual­ mente datare. Il Baglione e'informa ehe l' o­ ehe esemplare ehe, se pure non seguito, tut­ pera fu cominciata sotto Gregorio XIII dal tavia non maneo di influire sulla genesi deI Della Porta, eh' egli nomina, com'e noto, no­ baroeeo, e rappresento in ogni modo I' estrinse­ nostante il silenzio del Vasari e a malgrado eazione piu viva, piu eletta del suo genio. della generiea attribuzione a Michelangelo. 0- Le forme? Derivano in fondo da Miehelan­ ra sembrano contraddire a questa affermazione gelo, ma la sostanza ne eben diversa. Non v'e il Nibby e il Renazzi, i quali piu ehe un ini­ per noi soluzione alcuna di eontinuita tra I' ar­ ziatore, fanno apparire Gregorio XIII un con­ te di Miehelangelo e quella di eoloro ehe ven­ tinuatore delI' opera eominciata dai papi prece­ nero chiamati i suoi seguaei. t evidente ehe a denti. Il Renazzi nomina, desumendo la no­ un perpetuarsi delI' arte di Miehelangelo - tizia da doeumenti coevi, Pirro Ligorio quale eome eio pote avvenire mutatis mutandis per predecessore deI Della Porta, e dopo aver det­ Leonardo - si oppose il suo potente, anzi pre­ to come Gregorio XIII faeesse erigere il eam- potente, soggettivismo e l'isolamento stesso in . paniletto e aprire « I' ampia scala verso orien­ eui quest' arte, davvero unica, si trovo, rispet­ te», aggiunge eome egli proseguisse « sopra e to aUa tradizione. Cio spie ga il deeadimento sotto I' ordine dei portiei dal lato riguardante profondo degli imitatori. la Chiesa di S. Jacopo»: Il N ibby ci fa sa­ Anehe gli arehitetti, non potendo in alcun pere come sotto Pio V « si tirarono innanzi per modo ripeterne le sintesi inimitabili, ereditarono guisa i lavori» ehe « la parte superiore della le singole forme. Ma il earattere pratieo, appli­ fabbrica, tra levante e mezzodi, rimase quasi eato, delI' arte loro fu eertamente queUo ehe li eompiuta ». salvo da una troppo profonda eaduta. E pereio Ma perehe elementi di stile ed araldiei con­ in arehitettura non si puo parlare di manierismo. eordemente ci rimandano in tutto l' edifieio a Le esigenze pratiehe hanno senza dubbio una un'epoca non mai anteriore a quella di Papa importanza primaria per la formazione di uno Boncompagni e non puo in alcun modo trat­ stile neU' arGhitetto: sono I' argine ehe eompri- tarsi, come afferma il Renazzi, di una eonti- 508 Fig. I. - Giacomo Della Porla : Roma, Corlile della Sapienza. Parlicolare del lalo sellenlrionale. (fot. Alinari), nuazione di un disegno preesistente. dobbiamo comune. e chiaro. col Della Porta, il qua!e, argomentare come questo Papa imprendesse sappiamo, era stato assente da Roma dal 1565 la ricostruzione di quanto prima di lui era sta~ al 1570, e probabilmente venne assunto da to fatto. papa Gregorio ad architetto dello Studio su­ ehe cosa avrebbe dovuto completare infine bito dopo la propria esaltazione. nel 1572. il Della Porta? Il disegno di Michelangelo? I draghi gentilizi dei Boncompagni stanno Ma un esame critico anche superficiale ci fa proprio sulla parte del cortile « riguardante la subito escludere il norne dei Buonarroti. per chiesa di S. Jacopo» e cioe verso la facciata quanto possa il suo spirito in tutta I' opera non a testimoniare come sia questo il principio del~ essere assente dei tutto. Quanto preesisteva del~ I' opera di Gregorio XIII edel Della Porta; 10 Studio non poteva aver dunque nulla in nonche la parte piu antica deli' edificio attuale. 509 Nessuno infatti paria di logge 0 di portiei prima sia dato di sapere eon precisione fin dove arn~ di Gregorio XIII; e ne parlano inveee trat~ vasse l' opera delI' arehitetto sotto Sisto V, pu­ tando di questo papa il Donati (2) il Nibby (3) re tanto appare eerto, eh' egli disegnD la porta e infme il Renazzi. La data deI 1575. se non eon la iserizione ehiaramente aeeennante a,1 sieura. appare dunque eerto la piu probabile. 1592 (4) e vi aggiunse insieme al motto ehe die­ Il eortile della Sapienza e indubitatamente de il norne all' edifieio, 10 stemma di papa una delleereazioni piu geniali del Della Por~ Peretti. ta (jig. '). T roppo paeato per esser di Miehe~ F ortemente miehelangiolesea e la porta dal langelo. e perD. eome si aeeennava. un' opera poderoso timpano aggettante sull' esilita delle di evidente ispirazione buonarrotiana. Sono di~ mostre inferiori. Essa pero non pUD essere ri­ visi il portieo e la loggia da un doppio ordine portata in alcun ' modo al tempo in cui fu ese~ di pilastri: toseano . e jonieo. Il superiore e su guito il eortile (intorno al 1575) e eiD per un piedestallo, e tra i piedestalli e un balaustro ehe partieolare ehe solo in opere piu tarde del riehiama quelli al primo piano di Palazzo F ar~ Della Porta ritroveremo: il raddoppiamento nese edella gran loggia posteriore. Nitida e delle volute, viste oltreehe di fronte, in profilo. tagliente nelle sagome, tutta ombra e luee nei La faeeiata reeava gia a sinistra 10 stemma contrasti, aseiutta e searna per l'impiego di pa~ di Gregorio XIII (dove gia questo papa aveva raste in luogo di semieolonne, l' arehitettura di fatto erigere il eampaniletto), a destra quello questo eortile e, in verita. l' antitesi aHa roton~ di Paolo V. Ora eonsiderazioni di stile non da plastieita e ehiaroseuro ehe earatterizza sembrano contrastare al1'ipotesi di un anda­ l' opera deI Sangallo a Palazzo Farnese. I ea~ mento dei lavori da sinistra verso destra, sotto pitelli joniei hanno le volute plastieamente pro~ Gregorio XIII, Sisto V e Paolo V, eome sta­ filate all'infuori - ne aveva dato il prototipo rebbe a provare la sueeessione dei tre stemmi. Miehelangelo nel Palazzo dei Conservatori - Infatti il tipo di questa faeeiata, esclusa eome e annodate da un festoneino di alloro. Ma so~ si e visto la porta, e certamente tale da farei pratutto e originale il motivo verso gli angoli. piuttosto pensare a una prima maniera di Gia­ La serie delle areate bruseamente s'interrompe corno della Porta, anziehe alla maniera ehe e 1'intervallo tra le due paraste si restringe. Su~ gli vedremo familiare intorno al 1590. Non si periormente al vano eosi ottenuto 10 spazio del~ pUD tuttavia pensare ehe questo tipo di faeeia­ l' areo e oeeupato da un fregio nel quale e un' a~ ta, pure tanto originale, possa rieordarei a Mi­ pertura rettangolare chiusa entro una mostra ehelangelo, eome vorrebbe il WölfHin (/igu~ eon quattro oreeehie reeante ai lati nastri deeo­ Te 2 e 3). rativi. E il tutto di un rilievo eost tenue. eost Noi pensiamo inveee all'Ammannati e non piatto da riehiamare al palese arehetipo: le fi­ sembrera strana questa nostra idea quando si nestre del primo mezzanino di Palazzo Mas­ prendano nella dovuta eonsiderazione alcuni simo. Sull' apertura deseritta infine. entro due palazzi privati del Della Porta, eostruiti eer~ mostre di sehietto sapore dellaportiano e di de­ tarnen te in questo periodo, i quali tutti deri­ rivazione naturalmente miehelangiolesea, un fe~ vano dal palazzo Caetani dell'Ammannati, ad stone sorreggente il mezzo drago Boneompagni. es si anteriore. Non v'ha dubbio ehe Sisto V continuo a Il palazzo Paluzzo appunto - ora Spinola giovarsi delI' opera del nostro artista. Egli eom­ - in Piazza di Campitelli (/ig. 4) ripete, sal~ pleto dunque la faeeiata. E per quanto non ci vo la porta e il eornieione ehe sono aggiunte 510 Fig. 2. -- Giacomo Della Porta: Roma. F acciata della Sa­ Fig. 3. - Gidcomo Della Porta: Roma. Facciata della Sa­ pienza (jot. Min. Pubbi. Istr.). pienza. Particolare (fot. Mi". PubbI. Istr,). o rifacimenti del Rainaldi, 10 schema di pa­ casualmente. Quella facciata di via Giulia 10 . lazio Caetani. F acciata liscia, senza organa­ rivela infatti - come quella di villa Medici - mento di sorta, fmestre a pianterreno con ar­ un mediocre architetto, cui sopratutto manca­ chitrave orizzontale su volute e sotto, un semiin­ va il senso delle proporzioni. terrato; primo piano unito da una fascia; fi­ Il Riegl vuol vedere, nella porta col bal­ nestre deI mezzanino senza legame tra loro; cone al centro, un accentuamento della verti­ ultimo piano con semplici mostre intorno alle cale. Ma non considera come nel palazzo Pa­ finestre; cornicione non proporzionato all , altez­ luzzo quella parte sia un' aggiunta del Rainal­ za dell'intero edificio; bugnato d' angolo che di e in altri palazzi di questo tipo essa manchi da maggiore unita e compattezza all'insieme. affatto di questo risalto. Tale il palazzo Muli E stato detto che questo schema deriva da pa­ poi Serafini sul Corso Vittorio Emanuele di lazzo Sacchetti, dove il Sangallo l' avrebbe, per estrema, ammirabile semplicita, il palazzo Boa­ la prima volta attuato. Ma dQPo l' attribuzione, dile e il palazzo Capizucchi, in piazza di Cam­ pienamente giustificata, fatta ad Annibale Lip­ pitelli dove sono posteriori le aggiunte alle fi­ pi del palazzo di via Giulia (5) questa pretesa nestre del primo piano e forse anche la por­ paternita del Sangallo naturalmente cade.
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